7 ступінь - нижній (висхідний) ввідний тон
Вводный тон ( , букв. «чувственная нота») — ступень мажорного и минорного звукорядов, лежащая полутоном выше или полутоном ниже соседней ступени. Переход от вводного тона, помещённого на слабой доле такта, к соседней ступени на сильной доле такта описывается как переход от ладового неустоя к ладовому устою, также как разрешение неустоя в устой. Иногда вводным тоном называется также II ступень мажорного или минорного звукоряда, расположенная целым тоном выше тоники''Вахромеев В. А.'' Элементарная теория музыки. — Москва, 1961. — С. 105. Способин И. В. Элементарная теория музыки. — Москва, 1963. — С. 91. (используется в тех же метроритмических условиях). Краткая характеристика thumb|300px|Восходящий (отмечен красным) и нисходящий (синий) вводные тоны в звукоряде натурального C-Dur 300px|thumb|Восходящий и нисходящий вводные тоны в звукоряде гармонического a-moll В мажорно-минорной музыке Нового времени в качестве вводного тона наиболее типична VII ступень мажора и гармонического минора. В C-dur переход от h'' (VII ступени, на слабой доле) к ''с (I ступени, на сильной доле), в a-moll переход от gis (VII повышенной ступени) к a'' (I ступени) описывается как переход от вводного тона к тоникеХолопов Ю. Н.'' Гармония. Теоретический курс. — Издание 2-е. — Санкт-Петербург, 2003. — С. 270.. В расширенной тональности вводные тоны могут быть образованы и на тех ступенях мажорного и минорного звукорядов, которые «изначально» отстоят от своих соседей на целый тон — путём их альтерационного повышения или понижения. Например, в C-dur/c-moll при переходе II низкой ступени в I ступень (des-c, с соблюдением вышеописанных метрических позиций) des описывается как вводный тон к тонике, при fis-g (IV—V) в тех же тональностях fis описывается как вводный тон к доминанте и т. д. и т. п. Если переход осуществляется от более высокой ступени к более низкой, такая ступень именуется нисходящим вводным тоном, если же от более низкой к более высокой,— восходящим вводным тоном. Ход от вводного тона на полутон вверх или вниз зачастую образует интервал, который является хроматическим по положению, но диатоническим по существу (например, упомянутый выше интервал gis-a в гармоническом ля миноре). В современной гармонии такого рода интервалы иногда обозначаются термином «диахроматические»''Холопов Ю. Н.'' Там же, с. 149—150.. Исторический очерк Понятие вводного тона появилось во Франции XVIII в. в ходе становления концепции гармонической тональности. Для него французы употребляли метафорический термин note sensible («чувственная нота», или «чувствительная нота»), причём только по отношению к восходящему вводному тону от VII к I ступени натурального мажора и гармонического минора. С XX века термин «вводный тон» применяют также по отношению к старинной музыке, в которой мажорно-минорной тональности не было. Например, каденцию с двумя вводными тонами (в России часто под названием «готическая каденция»[[Холопов, Юрий Николаевич|''Холопов Ю. Н.]]. Там же, с.156.), типичнейшую для музыки XIII—XIV веков, немецкие музыковеды называют «каденцией с двумя вводными тонами» ( ). Анализируя церковные тоны А. Банкьери (начало XVII века), говорят о «вводных тонах» в описываемых им каденциях многоголосного ладаСм., например в статье видного американского музыковеда Г. Пауэрса: From psalmody to tonality // Tonal Structures in Early Music, ed. by C. C. Judd. — New York; London, 1998. — P. 298.. Вводные тоны находили даже в монодическом григорианском хорале[[:de:Gustav Jacobsthal|''Jacobsthal G.]] Die chromatische Alteration im liturgischen Gesang der abendländischen Kirche. Berlin, 1897., хотя для возникновения вводного тона в молитвословной просодии нет метроритмической предпосылки (нет такта с присущим ему различением сильной и слабой долей). Примечания Литература * Skrbensky L. H. Leitton und Alteration in der abendländischen Musik. Diss. — Prag, 1928. * Вахромеев В. А. Элементарная теория музыки. — Издание 3-е. — Москва, 1961. * Mackey M. L. The evolution of the leading tone in Western European music to circa 1600 A. D. Diss. — Catholic University of America, 1962. * Способин И. В. Элементарная теория музыки. — Москва, 1963. * Leitton // Riemann Musiklexikon. — 12te Aufl. — Sachteil. — Mainz, 1967. — S. 513—514. * Холопов Ю. Н. Гармония. Теоретический курс. — Издание 2-е. — Санкт-Петербург, 2003. — С. 156—157. * Вводный тон // Большая российская энциклопедия. — Том 4. — Москва, 2006. — С. 681. * Amon R. Leittöne // Lexikon der Harmonielehre. — 2 Auflage. — Wien : Doblinger, 2015. — S. 157—159. — ISBN 978-3-902667-56-4. Категория:Музыкальные термины In music, the subtonic is the scale degree below the tonic or, more specifically, the flattened seventh ( VII): the lowered or minor seventh degree of the scale, a whole step below the tonic, as opposed to the leading tone, which is only a half step below the tonic.Bruce Benward and Marilyn Nadine Saker, Music: In Theory and Practice, vol. 1, seventh edition (Boston: McGraw-Hill, 2003), p. 33. . "Used only to designate the seventh degree of the natural minor scale." The distinction between leading tone and subtonic has been made by theorists since at least the second quarter of the 20th century.Donald Tweedy, Manual of Harmonic Technique Based on the Practice of J. S. Bach (Philadelphia: Oliver Ditson Company, 1928), p. 7. Before that subtonic often referred to the leading tone triad, for example.Herbert, John Bunyan (1897). Herbert's Harmony and Composition, p.102. Pennsylvania State. Gardner, Carl Edward (1918). Music Composition: A New Method of Harmony, p.48. Carl Fischer. Clack, H. P. (1899). Songs and Praises, p.14. H.P. Clack. Root, George Frederick (1872). The Normal Musical Hand-book, p.315. J. Church. "The name in harmony sometimes given to seven of a diatonic scale," p.344.Stainer, John (1871). A Theory of Harmony Founded on the Tempered Scale, p.9. Rivingtons. The subtonic appears in three forms: as the scale degree, \hat 7 , melodically and as the chord VII in both VII-I cadence and in modulations harmonically.Allan Moore, "The So-Called 'Flattened Seventh' in Rock", p. 185, Popular Music, Vol. 14, No. 2 (May, 1995), pp. 185-201. The word is also used as an English translation of subtonium, the Latin term used in Gregorian chant theory for the similar usage of a tone one whole step below the mode final in the Dorian, Phrygian, and Mixolydian modes.Julian Rushton, "Subtonic", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001); Harold C. Powers, "Subtonium", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001) The diminished chord form, "the standard seventh...in minor keys,"Blatter, Alfred (2007). Revisiting Music Theory, p.115. Taylor & Francis. . is somewhat equivocal, making it a valuable means for modulating,"Giffe, William Thomas (1906). A Practical Course in Harmony and Musical Composition, p.78. T. Presser. . as it is made only of minor thirds and does not differ when inverted (B-D-F-A = D-F-A -B = F-A -B-D = A -B-D-F). For example, in the A minor scale (white keys on a piano, starting on A), the subtonic is the note G (in C major this would be B ); and the subtonic triad consists of the notes G, B, and D (in C: B -D-F). In music theory, the subtonic chord is symbolized with the Roman numeral VII for a major triad built on the note, or vii for a minor triad; in a minor key, the flat symbol is sometimes omitted by some theorists because the subtonic note appears in the natural minor scale, but the flat symbol is usually used for the major scale because the subtonic is a non-scale note. Some theorists describe the subtonic VII as, "sounding like the V in the key of the relative major—that is, a V of III."Kostka, Stefan and Payne, Dorothy (1995). Tonal Harmony, p.118. McGraw Hill. . "While VII in relation to C minor (I) becomes V in relation to III (E major)....As a major triad on an unaltered or natural scale degree 7 in minor the VII functions as a secondary dominant triad in relation to the mediant."Allen Forte, Tonal Harmony, third edition (S.l.: Holt, Rinehart, and Wilson, 1979): p. 116 and 123. . in C: ii- VII7-I ]] In jazz, the flattened seventh is also used as a substitute for the dominant, V, especially in the Backdoor cadence,Jerry Coker, Elements of the Jazz Language for the Developing Improvisor (Miami: CCP/Belwin, Inc, 1991), p. 82. . ii- VII7-I, where the subtonic is used for the dominant seventh. VII is in this case a pivot chord borrowed from the parallel minor (its dominant seventh). V7 and VII7, the subtonic seventh chord, have two common tones, in C: GB'DF' and B DF'A . ]] However, while, "the leading-tone/tonic relationship is axiomatic to the definition of common practice tonality," especially cadences and modulations, in popular music and rock a diatonic scalic leading tone (i.e., \hat 7 - \hat 1 ) is often absent.Moore (1995), p.187. In popular music, rather than "departures" or "aberrant," the "use of the 'flattened' diatonic seventh scale degree...should not even be viewed as ''departures".Moore (1995), p.186. In reference to chords built on the flattened seventh, Goldman argues that, "the concept of borrowing is in actuality unnecessary. The mixture of major and minor is a simple fact in the Classical and Romantic periods."Goldman, Richard Franco (1965). Harmony in Western Music, p.76. Barrie & Jenkins/W.W. Norton. . See also *Secondary leading-tone chord * VII-V7 cadence Sources Further reading * Stell, Jason Travis. 2006. "The Flat-7th Degree in Tonal Music". PhD diss. Princeton: Princeton University. Category:Diatonic functions 7 de:Doppelsubdominante eo:Duobla subdominanto In music theory, a '''leading-note (also subsemitone, and called the leading-''tone'' in the US) is a note or pitch which resolves or "leads" to a note one semitone higher or lower, being a lower and upper leading-tone, respectively. More narrowly, the leading tone is the seventh scale degree of the major scale, with a strong affinity for and leading melodically to the tonic . It is sung as ti in movable-do solfège. For example, in the C major scale (white keys on a piano, starting on C), the leading note is the note B; and the leading note chord uses the notes B, D, and F: a diminished triad. In music theory, the leading note triad is symbolized by the Roman numeral vii , while the leading-tone seventh chord may be vii 7 or vii 7. Upper leading-tone , ii-subV-I on C, creates an upper leading-note (D , which leads down to C) ]] (1873) or ]] By contrast, an upper leading-tone ( ; ), which leads down, may be found as the seventh of the dominant seventh chord (scale degree four), which leads to the third (degree three) of the tonic chord (in C: F of a G7 chord leads to E of a CM chord). The upper leading-tone may also be found above the tonic, on D in C. 's "Maple Leaf Rag" (1899) . Note that the seventh resolves down by half step.]] The subdominant (in C: F) may be considered a leading tone to the mediant (in C: E) melodically, without the tritone it is part of in a dominant seventh chord. Tonality According to Ernst the major and minor thirds contain "latent" tendencies towards the perfect fourth and whole-tone, respectively, and thus establish tonality. However, Carl contests Kurth's position, holding that this drive is in fact created through or with harmonic function, a root progression in another voice by a whole-tone or fifth, or melodically (monophonically) by the context of the scale. For example, the leading note of alternating C chord and F minor chords is either the note E leading to F, if F is tonic, or A leading to G, if C is tonic. In works from the 14th- and 15th-century Western tradition, the leading-note is created by the progression from imperfect to perfect consonances, such as a major third to a perfect fifth or minor third to a unison. The same pitch outside of the imperfect consonance is not a leading note. claims that the leading-tone is only one example of a more general tendency: the strongest progressions, melodic and harmonic, are by half step. He suggests that one play a G major scale and stop on the seventh note (F ) to personally experience the feeling of lack caused by the, "particularly strong attraction," of the seventh note to the eighth (F →G'), thus its name. As a diatonic function the leading-note is the seventh scale degree of any diatonic scale when the distance between it and the tonic is a single semitone. In diatonic scales where there is a whole tone between the seventh scale degree and the tonic, such as the Mixolydian mode, the seventh degree is called, instead, the subtonic. However, in modes without a leading-tone, such as Dorian and Mixolydian, a raised seventh is often featured during cadences , such as with harmonic minor. A secondary leading-tone is a leading-tone from outside the current scale, briefly tonicizing what is usually a scale tone . Chord In music theory, a leading-tone chord is a triad built on the seventh scale-degree in major and the raised seventh-scale-degree in minor (the leading-tone). "The leading tone triad is a diminished triad; it occurs in both major and minor modes" . The quality of the leading-tone triad is diminished in both major and minor keys. The leading-tone seventh chords are vii 7 in major and vii 7 in minor . }} Some sources say the chord is not a chord, some sources say it is an incomplete dominant seventh, especially in its first inversion (resembling the second inversion dominant seventh) . }} Voice-leading resolution inward and outwards . Both notes resolve by half step.]] Since the leading-tone triad is diminished, it is rarely found in root position. Instead, it is commonly found in first inversion. In a four-part chorale texture, the third of the leading-tone triad is doubled in order to avoid adding emphasis to the tritone created by the root and the fifth. Unlike a dominant where the leading-tone can be frustrated and not resolve to the tonic if it is in an inner voice, the leading-tone in a leading-tone triad must resolve to the tonic. Commonly the fifth of the triad resolves down since it is phenomenologically similar to the seventh in a dominant seventh chord. "The first inversion of the triad is considered, by many, preferable to root position. The second inversion of the triad is unusual. Some theorists forbid its use." "VII occurs most often in its first inversion." "The chord of the sub-tonic is almost never used except in its first inversion." "Like II dim}} in minor, it occurs rarely in fundamental position. When represented by its first inversion it often stands between I and I ." On the other hand, the leading-tone seventh chord does appear in root position. For this reason, outside of the two uses listed below, a leading-tone triad is less common than a leading-tone seventh chord. Uses The leading-tone triad is used in several functions. Commonly, it is used as a passing chord between a root position tonic triad and a first inversion tonic triad , VII has another important function: it can form a neighboring chord to I or I ."}}. The leading-tone triad prolongs tonic through neighbor and passing motion in this instance. and (add C)]] ]] The leading-tone triad may also be regarded as an incomplete dominant seventh chord: "A chord is called 'incomplete' when its root is omitted. This omission occurs, occasionally, in the chord of the dom.-seventh, and the result is a triad upon the leading-tone" . The vii 7 chord is often considered a, "dominant ninth chord without root" . Since it contains three common tones with a dominant seventh chord, it easily can replace and function as a dominant. For example, vii often substitutes for V , which it closely resembles (in C: D, F, B versus D, F, G, B), and its use may be required in situations by voice leading: "In a strict four-voice texture, if the bass is doubled by the soprano, the VII dim}} is required as a substitute for the V ." . When used at a cadence point, the leading-tone triad creates an imperfect authentic cadence since there is no root motion from scale-degree 5 to scale-degree 1 in the bass. This type of cadence was used commonly in the Renaissance era but increasingly grew out of fashion as the common practice period progressed. Leading-tone seventh chords were not characteristic of Renaissance music but are typical of baroque and classical music, they are used more freely in romantic music but began to be used less in classical music as conventions of tonality broke down, but are integral to ragtime and contemporary popular and jazz music genres . Seventh chord 7 | image2 = Leading-tone seventh chord in C minor.png | caption2 = Leading-tone seventh chord in C minor: vii 7 }} 7-I | image2 = Diminished seventh chord resolution.png | caption2 = Diminished seventh chord resolution: both diminished fifths tend to resolve inward, doubling the third of the tonic chord }} opening ]] In music theory, the leading-tone seventh chords are vii 7 and vii 7 , the half-diminished and diminished seventh chords on the seventh scale degree, or leading-tone, in major and harmonic minor, resolving to the tonic. Leading-tone triads and seventh chords are frequently substituted for dominant chords, with which they have three common tones, for variety . , K. 527, Act I, Scene XIII ]] "The seventh chord founded upon the subtonic major...is occasionally used. It resolves directly to the tonic...This chord may be employed without preparation" . , K. 284 ]] The leading-tone seventh chord is half diminished in C major (B-D-F-A) and fully diminished in C minor (B-D-F-A ). However, composers throughout the Common practice period often employed modal mixture when using the leading-tone seventh chord in a major key, allowing for the substitution of the half-diminished seventh chord for the fully diminished seventh chord. This mixture is commonly used when the leading-tone seventh chord is functioning as a secondary leading-tone chord. The leading-tone seventh chord contrasts with the subtonic seventh chord in that the subtonic has a flatted seventh (chord root): in C minor, B -D-F-A . The leading-tone seventh chord has a dominant function and may be used in place of V or V7 . , mov. III ]] Fétis tunes the leading-tone seventh in major 5:6:7:9 . , mov. I ]] See also *Secondary leading-tone chord *Musica ficta Sources * |reference= Aldwell, Edward, Carl Schachter, and Allen Cadwallader (2010). ''Harmony and Voice-Leading, fourth edition. New York: Schirmer/Cengage Learning. }} * |reference=Benjamin, Thomas; Horvit, Michael; and Nelson, Robert (2008). Techniques and Materials of Music. 7th edition. Thomson Schirmer. .}} * |reference=Benward, Bruce, and Marilyn Nadine Saker (2003). Music: In Theory and Practice, Vol. I, seventh edition. Boston: McGraw-Hill. .}} * |reference=Benward, Bruce, and Marilyn Nadine Saker (2009). Music: In Theory and Practice, Vol. II, Eighth edition. Boston: McGraw-Hill. .}} * |reference=Berger, Karol (1987). Musica Ficta: Theories of Accidental Inflections in Vocal Polyphony from Marchetto da Padova to Gioseffo Zarlino. Cambridge and New York: Cambridge University Press. (cloth); (pbk).}} * |reference=Berry, Wallace (1976/1987). Structural Functions in Music. Dover. .}} * |reference=Coker, Jerry (1991). Elements of the Jazz Language for the Developing Improvisor. Miami, Fla.: CCP/Belwin, Inc. .}} * |reference=Dahlhaus, Carl (1990). Studies on the Origin of Harmonic Tonality, trans. Robert O. Gjerdingen. Princeton: Princeton University Press. .}} * |reference=Fétis, François-Joseph and Arlin, Mary I. (1994). Esquisse de l'histoire de l'harmonie. .}} * |reference=Forte, Allen (1979). Tonal Harmony. Third edition. Holt, Rinhart, and Winston. .}} * |reference=Gardner, Carl Edward (1918). Music Composition: A New Method of Harmony. Carl Fischer. .}} * |reference=Goetschius, Percy (1917). The Theory and Practice of Tone-Relations: An Elementary Course of Harmony, 21st edition. New York: G. Schirmer.}} * |reference=Goldman, Richard Franko (1965). Harmony in Western Music. Barrie & Jenkins/W.W. Norton. .}} * |reference=Herbert, John Bunyan (1897). Herbert's Harmony and Composition. Fillmore Music. .}} * |reference=Kurth, Ernst (1913). Die Voraussetzungen der theoretischen Harmonik und der tonalen Darstellungssysteme. Bern: Akademische Buchhandlung M. Drechsel. Unaltered reprint edition, with an afterword by Carl DahlhausMunich: E. Katzbichler, 1973. .}} * |reference=Root, George Frederick (1872). The Normal Musical Hand-book. J. Church. .}} * |reference=Stainer, John, and William Alexander Barrett (eds.) (1876). A Dictionary of Musical Terms. London: Novello, Ewer and Co. New and revised edition, London: Novello & Co, 1898.}} Category:Diatonic functions 7.5